Above: violinist Kristin Lee
Tuesday January 18th, 2022 – Chamber Music Society of Lincoln Center brought together six virtuoso string players from their stellar roster for a program of music by Beethoven, Schulhoff, and Dvořák at Alice Tully Hall.
Beethoven’s Quintet in C-minor for Two Violins, Two Violas, and Cello, Op. 104, started life as a piano trio composed in 1794–95; the composer arranged the work for string quintet in 1817.
An almost waltzy feeling springs up for the opening of the Allegro con brio. The music spills forth with contrasting passages of animation and lyricism, which tonight’s five musicians graced with delicious harmonies and finely-judged dynamics. Violist Matthew Lipman’s playing (all evening) was of particular note.
A gentle flow of melody opens the Andante cantabile. Ensuing variations include a sad interlude and some boisterous passages; Mr. Lipman and cellist Keith Robinson seize on their opportunities. The irresistible magic of Beethoven abounds here. The Menuetto has a courtly feeling, but fabulous flourishes from Kristin Lee’s violin add a spicy touch. Later, some charming echo effects are heard.
Ms. Lee takes the lead in the quintet’s Finale: Prestissimo. Here I found myself deriving great joy from watching the five musicians reveling in the pleasure of playing such marvelous music. After all that has gone before, Beethoven pulls off a final magic trick: the quintet ends quietly.
Above: composer Erwin Schulhoff
The centerpiece if this evening’s program was Czech composer Erwin Schulhoff‘s Sextet for Two Violins, Two Violas, and Two Cellos, composed in the early 1920s. This evening was my first hearing of this work, and it was an engrossing, revelatory experience. My only other Schulhoff encounter was a powerful performance of the composer’s 5th symphony by the American Symphony orchestra in 2017.
Schuhoff’s Sextet opens with an Allegro risoluto, the musicians digging in and then trudging along with numerous dramatic effects. The music calms, with wisps of melody woven in; our two violists (Mssrs. Lipman and Neubauer) have much to do here, with plucking and tremolo passages. The music has hauntingly somber harmonics and brusque accents.
In the eerie Tranquillo: Andante which follows, the music is spine-tingling: unsettling yet beautiful. Mr. Neubauer and cellist Keith Robinson share an evocative exchange, and Kristin Lee spins a silky violin theme over a rocking motif. A solo from Mr. Robinson sustains the mood, and then a creepy, insectuous theme yields to a hushed atmosphere. The cello sings low, and then, with fantastic control, a final passage for viola and cello. “Wow!” I scrawled in my notes.
An agitato movement, marked Burlesca. Allegro molto con spirito brought forth fun, lively rhythms and some fiery playing from Matthew Lipman. The tempo speeds up for a propulsive unison passage at the finish.
Above: violinist Arnaud Sussmann, photographed by Carlin Ma
To close the evening, Antonin Dvořák’s Sextet in A-major for Two Violins, Two Violas, and Two Cellos, Op. 48 (1878) was gorgeously played by our six artists.
From the start, this sextet is a veritable font of melody. And the dance rhythms are indeed toe-tappingly appealing. But after a while, it all becomes so very pleasant, and I began to think back to the jarring fascination of the Schulhoff. As time goes by, I find that Dvořák’s music seldom draws a deep response from me.
Despite such quibbles, I was so glad to stand up and cheer at the end of the concert, joining my fellow music-lovers in a heartfelt homage to these six great musicians.
~ Oberon
Oberon's Glade 